Rush (1975) By-Tor and The Snow Dog - LOST 70s GEMS

 Musically Fly By Night is my favourite hard rock album on a stylistic level with Alex Lifeson's ringing power chords played with in terse bursts with a arena ready level of reverb while Geddy Lee's trademark high pitched vocals are appropriately demonic and detached as he shrilly wails away all under the throbbing bombast of their new drummer Neil Peart. Peart's sci-fi futurism would contribute to the album's fantastical Prog lyricism, though I think the conceptual design of the album is a little all of the place but that would soon be improved on 2112. Erivaldo Felix, who would famously paint the Kiss Solo Albums,provided the blue and green album cover of an owl like beats standing in the snow with it's wingspan spread out before us and it's amber eyes lit like gems of Topaz. Best I Can is a highlight with it's rockin and rollin track full of groove broken up by the occasional 'splintering' double-stroke power chord and rollicking vocals and groove by Geddy Lee. another is the slamming power chord progression of the closer In the End which features the dynamics of a Houses of the Holy album track for all you Zepephiles out there.

 By-Tor is the album's centrepiece with it's many unnecessarily named sections, it's ultimately it's own little opera about an epic fight between a dog that was allegedly a 'Biter' renamed to the more futuristic By-Tor and an actual snow dog breed, but it's all about the music in my opinion over Peart's lyrics which could get very descriptive. The song, my favourite by the band alongside What You'e Doing from their debut, starts right out the gate with a roving, circular guitar pattern; Geddy's bass is weighs heavily in the mix alongside is spectacular strained falsetto that adds anotherworldly dimension to the lyrics with his euphoric delivery. Neil Peart's drumming is a focused assault sounding far more hollow and yet harder edged then any drummer before him, while Alex Lifeson's tonal guitar clangs and rings out in all directions with it's echoplex sounding so much grander than the standard chamber reverb effects of the day.
The strong delay of the guitar adds so much sweet grandeur to the crunching hard rock chorus as Lee spits out the title of the song like a children's tale. We get some fairly placid chords and a busy bass line to soothe us before an abrupt Lee 'yelp' leads us into the titular 'battle' of the two giants. Here Lifeson's guitar comes alive with some frantic blues licks to the backdrop of a heavily treated talkbox guitar part made to imitate By-Tor or the Snow dog. We are treated to a cacophony of whining Hendrix space licks in the background and growling talk box upfront that has been slowed to an absolute sludge to indicate a gruelling monster.

 Soon Peart gets involved with his tight drumming snapping us into a series of meaty drum rolls with a hissy phaser effect employed on them before an onslaught of staccato rhythm which is used to suggest combat. It all peters out into a spacey whine instead of a talkbox growl; the mighty Snowdog is the victor! But it's not all over as Lifeson resurrects the tune with some ambient guitar playing sounding like the 2112 discovery section, their are wind chimes to give a empty cathedral like atmosphere. Alex Lifeson's droning chords and Neil Pearts' jaw dropping meaty drum rolls lead us into a scorched blues rock bridge before a final reprise of the opening verse with it's poppy melody and fluid bass guitar riff as Lee's distinctive clear tone voice sweetly soars; we end with some circular fuzz guitar melodies and a final burst of Peart's drums to finish us off and I'm spent!

Eagles (1972) Take the Devil - LOST 70s GEMS

Eagles, the self titled debut album of the definitive Country Rock band of the 70s was possibly the most inventive album of 1972 with it's mix of smooth countrified Folk rock ballads and distorted guitar/ banjo bluegrass flavoured rock. I have chosen this remote and cold little Randy Meisner' track, one of three contributions alongside pop rocker Tryin and waltzy ballad Most of Us are Sad, Meisner was by far the most represented member on show ironically over Glenn Frey who was the lead singer on two of three hit singles off this album. Meisner's penchant for melodic pop rock and his Nebraskan wail was easily along with Frey the sound of the new band particularly as Meisner's high voice would be the fulcrum of the band's distinctive harmonies. Though he is undoubtedly with three writing credits and three lead vocal spots the star of the album, he is also incredibly underrated particularly on Take the Devil with it's fresh hard rock take on Country rock with it's foreboding spirit.

It starts with a lone, rugged acoustic guitar strumming away discontentedly alongside bassist Randy Meisner's wild vocals; a coyote like call of electric guitar whines in the background. Meisner's vocal melody, one I admit is a bit primitive in it's undulating manner with Meisner straining to go up an octave abruptly for the second half of the vocal lines. It's bitterly cold track draped in Glenn Frey's sparse and brooding fuzz guitar notes and mechanical blues playing; hanging over the track with an air of implacability . Frey's solo whines and cries in meaty pull offs while the shiny acoustic guitar glints away in the middle channel. Meisner's lyrics sound like the prose from a Cormac McCarthy novel like Blood Meridian with the 'religion and bloodshed' imagery of a savage tale from the old west. The marauding distorted guitar soon plays a descending set of power chords and drives the tempo up alongside Henley's rudimentary bar band rolls.

Halfneson (1972) Biology 2 - LOST 70s GEMS

Sparks, the famous 70s art rock band that featured a member with a full on Hitler moustache started out named Halfnelson with a self titled debut album released in 72. It is quite an astonishing album packed full of tight pop and quirky vocal, guitar and keyboard arrangements; with it's animated and European vocals, 50s pastiche, sturdy rock n roll, fanciful pop all in a haywire and uptight style it feels like the first fully formed New Wave work. It's uncanny and no wonder they were so popular during New Wave's heyday in the late 70s as they practically started it off four years before it emerged as a full genre. Of course there is more Prog influence and reliance on rock guitar than in alter NW bands but it sure is a milestone. Wonder Girl illustrates their jacked up bops and very aristocratic sounding RP lead vocalist Russell Mael with a stunted stop start melody with idiosyncratic almost French phrasing. Biology 2 carries a Talking Heads feel with sped up creepily sung falsetto while the guitar and keyboards play odd melody line to a tune about the bonding of DNA; it basically sounds like the Chipmunks meets the Big Bang Theory! There is an element of them taking the latter Beatles experimentation to new dimensions with a mix of reverbed sounds other memorable tune is High C with it's slight Prog organ and hard rock dynamics with it's highlight being the 'wahoo hoo' doowop part reminds of some cartoon with it's chirpy exuberance The album is filled head to tails with circular instrumental lines and very zany motifs not to mention Russell Mael's theatrical deliveries to make this a fresh Glam Rock work.

Jonathan Edwards (1971) Athens County- LOST 70s GEMS

Jonathan Edwards' 1971 debut album was the peak of Folk rock's pop side; it's leaner and more melodic than the early Byrds or latter day CSN. Jesse should've been a hit on it's own right with a strong narrative about the namesake of the song, it's delivered in childlike, nursery rhythm with folk guitars and gentle piano touches and Edwards' earnest vocal at the centre navigating the trials and tribulations of the titular figure like a novel; it ends on a beautifully sung 'la la'. Emma is much the same with a similar vocal melody but it is a far more melodic with a soulful tunefulness and catchier chord progression. It was the B side to the political tinged folk ballad Sunshine which was the album's big hit, but the romantic devotion of Emma with it's country folk pop melodic-ism, it too could've been a hit; the ending wails of the pedal steel are a fine addition too. Cold Snow is another bright bluegrass tinged folk ballad with another tight, pop melody and echoes of Stephen Still's phrasing in Edwards' hippy-esque observations and hopeful, affirmative stance; here snow acts as positive imagery to 'cover all the ground' with the sky 'shining white' Athens County was written with Joe 'Shaddap yer face' Dolce ironically and while it bears a quirky country turn it is a simple tune; the chorus is pure country pop with the dulcet delivery of 'Sweeet Maria'; though the harmonica solo is a bitter intrusion to the song's fast paced beat. 

Dusty morning starts with a dark melody and rugged acoustic guitars as Jonathan Edwards's smooth Americana vocal seeps in, like the whole album it's strength is in it's arrangement; tight, circular melodies, smooth pop vocals and energetic shuffles. Everybody knows her is another of the album's Crosby Stills and Nash influenced numbers with it's hollow tenor, 'la la' vocals and earthy acoustic guitars set to a rock beat. The kickass beat drives the song with defiant refrains of 'she wants you back again, try her love again' sung with some rock n roll or folk styled detachment and a clean but rustic sound. But I will choose Athens County by the slimmest margin for standing just a little out form the rest with it's clean cut country folk rock perfection and wicked melodies.

Jonathan Edwards (1972) Give Us a Song - LOST 70s GEMS

The 'Sunshine' hit maker Jonathan Edwards, not the Olympic rower, didn't have the same success with his 1972 ATCO relased sophomore effort the colourfully titled Honky-Tonk Stardust Cowboy. While the title track is straight up tongue in cheek novelty country the album still contains it's fair share of brisk folk pop. Stop And Start It All Again is a fast paced stop and start tune with acoustic licks galore, chiming away with Edwards upbeat positivism and simple but bright sound could easily classified this as 'Sunshine Pop'. Dues Day Bar continues in this semi- Bubblegum sound with some Mountain yodelling tucked in with the amiable strum. Everything starts with some delectable Pedal Steel playing while the song is based a around a circular vocal and contains some sweet backing harmony in a very traditional country sounding record. Dream Song starts with a pwoerful, inspsiring vocal by Edwards singing with determination before beautiful strings strain in a stirring and emotional waltz; the classical piano and the way he sings a little higher in the chorus is fantastic, while I could have done without the intrusion of the ill fitting harmonica solo.
Give Us a Song should've been his second big hit with it's slight pathos but incredibly melodic verse melody and chorus hooks; it's part old English folk dance, part California roots rock,part country western lament.

David Soul (1976) Kristofer David - LOST 70s GEMS

The star of Starsky and Hutch also had a huge hit with the definitive mid 70s soft rock ballad and smash hit Don't Give Up On Us; a Glenn Campbell easy listening number with big strings, defiant vocals and a saccharine flavour left in your mouth. It was a time where TV and movie stars Like John Travolta, Lynda Carter, Olivia Newton John etc. would release their own singles with heavily arranged AC pop ballad and schmaltzy messages, but this one turned out good mainly because David Soul wasn't a huge star at the time and the album is more reflective of musical trends at the time, this is a 76 album where the semi-Countrypolitan sound was still new and fresh as opposed to the discount disco records that some stars would cash in on later years. Many songs are honky tonk styled piano show tunes, very music hall and classic era, while the half baked song Landlord is a funky oddball number with it's buzzing percussion and offbeat delivery alongside whirring strings it sounds like a drugged up quirky sound. Seem to Miss So Much (Coalminer's Song) is more gentle folk pop ballad and at least closer to his big hit if not anywhere near commercial or lively enough, while Ex Lover and One More Mountain to Climb also bear piano and deeply resonant vocals carrying the plaintive air of Don't Give Up on Us. Topanga and Black Bean Soup have an acoustic Country jive to them with the latter bearing more of that funky old timey magic before ending with Kristofer David which is a fingerprinted acoustic tune complete with animated vocals acting out different voices. Ultimately Don't Give Up on Us, the closing track, is the only worthwhile tune here on an utterly forgettable album devoid of any of the pop hooks than that hit. But Black Bean Soup does have something, with it's violin, funky acoustic strum a countrified treatment of funk, in fact the plodding rhythm and hushed sensual vocals remind me of Leo Sayer You Make Me Feel Like Dancing form the same period. The duet is sung with passion particularly by Lynne Marta's raucously dispensed vocal, as they describe a relatively straightforward recipe with warbling swagger and some Down-home spirit as extra drums, louder violin and background chatter come in and join the party.


Then again, I change my mind and Kristofer David has a pure innocence to it as David sounds like John Denver, the addition of sound effects such as the continuous little chuckles, the animated growl, 'in character' responses from a female vocalist, the out of song interjection about "Love?!" which he shouts really loud make this a silly closer to Dr Hook. Soul has vibes of his mid 70s peers the John Denver and Leo Sayer's smooth AOR ballads and the quirky roots music of Dr Hook but nothing is better than a song like Kristofer David. Here he is singing a tune about the 'ladybug of love,' a lyric a little too earnest for an adult, and so it is recorded as if played live to a giggling classroom of children. Over the course of the song we get acted out asides occurring mid song by a female while Soul himself breaks away from gently singing to making his own farcical comments before it ends perfectly with the group of children joining in 'las las' before a gaggle of scattered applause; it's whimsical and not too serious like the whole album minus the big, big hit of course which completely does not belong here.

Pilot (1975) You're Devotion - LOST 70s GEMS

 Pilot's second album wasn't all that great, their third album Morin Heights was the peak of their songwriting and arrangement, but Second Flight had a few melodic cuts. 

 This sophomore album is far more arranged punchier melodic than the first and packed full of hooks; vocals, keyboard and guitar wise, You're my No 1 with it's sweet multi-Moog grooves and sugary bubblegum vocal melodies are an example of this while the quiet acoustic/piano moments deliver a bit emotional weight in between the lightweight strings laden parts. With the ballooning synths, the hand claps, airy production and effervescent harmonies make this like a cheap but enjoyable ELO lite, Call Me Round continues in that ELO tradition of romantic Beatles styled verses, clear-cut acoustic guitars, glistening arpeggios and ringing harmonies. 55° North 3° West is full of very animated Moogs with the dials used to full effect as they glide in an thick but bright major tone, sliding from note to note and fluctuating in sustains for a 'wishy washy' style set to a disco beat; it's like the Bee Gees meets Starbuck with the keyboard bass led rhythm of the former and the saccharine analogue synthesizer lines of the latter. Do Me Good has a fantastic hook, an ascending vocal line sung with David Paton's characteristic pinched high tenor and continues with Badfinger type of harmonies and more Beatles' styled piano marches, while Bad to Me has an even catchier set of pop melodies set to a sturdy beat as sweet strings, gutiars chime and stir in a Baroque/Prog Pop package.

Passion Piece is a very Beatles style mix of old timey, singalong music hall parody with 20s swing and growly, theatrical vocals and Beatleqsue harmonies; the topping are chirpy horns and strings that carry the tune along with the wonderful refrain of 'she get's the best of me'. Dear Artist is another plonking Beatles-ques piano ballad, more intimate with a gentle but hopeful vocal from Paton providing the foundation of the song and some great line deliveries such as 'paint me a picture call it HELL'. Dear Artist is the second best song on the album but the very best is without a doubt You're Devotion which starts with some urban piano and big snarling guitar work and some very Badfinger sounding vocals, it almost sounds like Come and Get It from that band, is it Tom Evans singing the soaring lead vocal with it's bratty nasality and matter of fact punch; only the warped bass synth groaning in the background and the backwards echoed vocals at the end occasionally remind us this was mid 70s prog and not a Badfinger outtake from their early 70s peak. Well there you go I don't no what to make of this album other than it's very Beatles sounding and very bubblegum light but not to special songwriting wise!

Joni Mitchell (1970) Mornin Morgantown - LOST 70s GEMS

Ladies of the Canyon is along with Blue represents the height of Joni Mitchell's folk pop phase before the jazz experimentation and this track is a delightful tune that evokes bucolic splendour with it's delicate phrasing and lilting tone. Mitchell's incandescent vocal is matched by the strains of a Dulcimer and waterfall piano fills as she describes either a modern community or a Hippie camp.

America (1972) To Each His Own - LOST 70s GEMS

The circular repeating lines by Beckley, the twilight backing and the slow finger picked verses reveals how they seamlessly blended folk into pop balladry far more than their rootsier cousins Crosby Stills and Nash. You just can't beat that incredible chorus with a stack of lyrics that roll off the tongue in a smooth laidback melody; you get the feeling he could sing this in a loop for eternity.


I'm gonna miss you, yes, I will
No matter who you are, I'll love you still
For my life is my conscience, the seeds I sow
I just wanted to let you know

Pilot (1974) High in to the Sky - LOST 70s GEMS

Pilot, famous for the huge hits Magic and January debuted in late 74 with From the Album of the Same Name; not that's the actual title. It bared a awesome hand drawn art deco shaded image of the band wearing fanciful scarfs to a backdrop of a puffy cloudy sky resembling a modern art version of a World War Two propaganda poster, the music inside is just as whimsical with a clear cut Beatles pop sounding record. While opening with the hit Magic, an ode to the often unsung joy of late morning lie ins, it was the perfect bridge of Post Hippy laidback quirky pop and 70s Arena Rock hits of bands like Foreigner and Styx. Sooner or Later has strong verses and the piano and vocals are equally crystalline and full bodied while the Sgt Pepper tune Girl Next Door has a strong chorus but the melodies never quite hit the heights of the opening track. Heavily distorted slide guitars crunch away along with the percussive honky piano work and tightly compacted drum work. There is a lot of Beatles or even Wings in the group's sound and occasionally some other prog groups but the band it seemingly most likely influenced was Ambrosia, the Prog Pop outfit that would debut a year later with their own very Beatles-esque brand of keyboard pop rock, however they were far more successful on the chart with hits like How Much I Am, The Biggest Part of Me and Holdin on to Yesterday; Ambrosia would embrace the late 70s Soft Rock balladry that would herald the 80s while Pilot were more drawn to the offbeat, far punchier beat pop of the early 70s that looked more to the 60s.

The trouble a lot of these songs feature very rudimentary and boringly steady beats while the melodies are a little too bubblegum and lightweight for the 70s lacking any real depth; while that's no surprise considering the lyrics of Magic and the repetitious nature of January


High in to the Sky is a brief look at what they could've been with the big intoning, reverb drenched Glam vocals reminding me of She Came Through the Bathroom Window while the multi tracked Moogs play a sweet counterpoint to the whining guitars; the high pitched harmonies and prominent backing doo wop vocals are the rare connection to the Magic as they are not present elsewhere on the record to nearly enough the same degree. The upbeat Just a Smile features glistening semi-acoustic guitar arpeggios pinging away and sunny pop vocals but not a very strong melody again. There is a slightly Prog majesty of Sky Blue mixes treated vocals, big power ballad drums, pirouetting strings, snickering horns, finger picking and Hawaiian sounding slide parts. Lucky for Some has an airy sound with wet, piano notes and big boxy acoustic guitar and drums and more moaning lead guitar and a Peruvian sounding flute solo with a willowy echo to it. While the closer Lovely Lady Smile continues the South American folk sound of the Lucky for Some even with Spanish lyrics and a strong AC pop sound that most certainly was the focused sound Ambrosia took to heart as they must have been influenced by this record.

Eddie Kendricks (1978) How's Your Love Life Baby - LOST 70s GEMS

 Vintage 78 was Eddie Kendrick's album starts with How's Your Love Life Baby which kicks proceedings off with the delightful Jackson Five mix of congas and vibraphones before a flurry of vocals, flutes and wah wah guitars sweep in. The rumbling drum rolls in Tony Macaulay's The Best of Strangers combined with the twinkly vibes and chimes keep things bright and sparkly on this Carpenters sounding cut.Don't Underestimate the Power of Love is another song full of zinging strings and winsome tenor vocals from Kendricks, soulful choruses and big doom laden drums.
Ain't No Smoke Without Fire is a disco cut with Motown sound that by 78 was at least ten years old and out of date but still pretty groovy, If It Takes All Night is a slow jam where Kendrick's delivery is exposed as a little too meek, while One of the Poorest People is an delicious mixed soul song with upfront waka waka guitar, sweet strings far back and Kendricks backed by his chorus singers in the middle singing with gospel spirituality as wah wah guitars and toms roll on. Whip is a strange one as it starts with an odd bullfrog vocie doing a countdown before launching into it's heavy Disco beat, the social conscious lyrics not fitting the elements of a soulful disco tune with it's huge horns and sultry backing vocals. The chorus of Your Wish IS My Command is catchy, it goes "Just like a genie Your Wish is My Command, And if you leave me you only have to clap your hands" by the sweetest gospel singers and backed by a twinkly, quiet storm meets Disney music bed, but Maybe I'm a Fool to Love You sounds like an exact copy, same tempo and production elements.

Mac Gayden (1975) Sweet Serenity - LOST 70s GEMS

A gentle tune based around a funky acoustic strum, Gayden's brown note deep voice and some Prog overdubs such as doom laden piano stings, oboe, strings and some that cackling instrument that sounds like a Indian shenai.

Eddie Hazel (1977) So Goes The Story - LOST 70s GEMS

On Eddie Hazel's77 solo album, Game, Dames and Guitar Thangs; every song is phenemonal.

Frantic Moment starts with stunning reverse echoed guitar licks, panning around in a sonic soup, strident female backing vocals hypnotically sing as a tight and explosive drum beat and drawling bass guitar induce you further. So Goes The Story explodes with meaty wah wah guitar rocking out as the backing vocals sing a sped up rap line, as always a the beat is strong and some sticky wah wah synth or guitar parts dress up the rest of the song nu funk textures creating a full landscape if a little busy on this track. Hazel's clockwork, mechanical blues guitar playing often devolves in to liquid jazz lines but is always a treat for the ear particularly when balanced with the 'wet' squelchy, wah wah bass plodding along and the compact, biscuit box drums. The itty bitty blues notes that Hazel unravels in the solo in the Beatles cover of I Want You (She's So Heavy) are fresh, absorbing and feature the right amount of legato and shredding as a climax as his solo gets more intricate. On the cover the backing vocals are in sync with guitar and piano as they reinvigorate it with their hypnotic mixture of lilting harmonies, fluid blues playing and a punchy rhythm section to create a funk rock sound that packs a punch but is also very smooth with a dark undertone.

As with a lot of his work on this album, the reverb is increased at specific parts of his guitar work mid solo for added impact. His fat tone and fluid playing only gets cuts deeper with these touches of chamber reverb emphasising the thick, tactile fretwork. I covered California Dreaming in a past post but Physical Love is a strong substitute for that epic Mamas and Papas cover that bookends this revelation of an album; here he employs a Hendrix styled use of a Hammond Organ filter and the drawling distortion as Hazel makes impressive use of pulls and slides to a syncopated electric piano groove. An analog synthesizer meows away in duck like wheezes adding an eccentric tone as Hazel's guitar is bizarrely pushed so far back in the mix its hardly audible above the rhythm section. On What About It Hazel's playing is more obviously funk with accented parts and more percussive sparse playing